We talked about the Unit 1 Assessment process and criteria.
Jonathan also showed us some works being shown at the Linz Ars Electronica 2019.
I found it interesting the correspondence Wu Juehui’s installation, Bit Tower, has with installations I made in 2010, 2013 and 2014 using sacred spaces and low frequency sounds.
In 2010, I experimented with sculpture and sound during a residency at Nottingham Trent University. The result was Contingent Ceremony, an installation in a small redundant church looking at worship and the sacred in the light of mystery and magic.
I also showed a version of this at the Crypt Gallery St Pancras in the same year. Incidentally, the same show as Genetic Moo, graduates from this very same course long before I ever knew about it.
2013, the next installation was more ambitious in scale, in the large Chad Varah Chapel. Here I used a variety of sound sources enveloping the space and emanating from a central sculpture. I remember the highlight for me was when one of the festival organisers was brought to tears by the associations she made with the work. It is humbling when such things happen and also bring to mind the responsibility one has to others when doing something affecting.
The next installation was in 2014 as part of the touring show Chaos Contained. The installation was in the Bell Tower of St John’s Church in Scunthorpe. This time I used the sounds of the tower clock together with low frequencies.
For the project proposal I am thinking of using low frequencies but this time with a digital control mechanism which interacts with the audience. I worked with the Arduino earlier this Summer, learning how to use it and code. I shall continue this as soon as I get back to the studio. This period away has been useful for writing the Research Statement, thinking about the Project Proposal and curating the blog.
Adrien M and Claire B from Lyon are artists I was already familiar with through social media. Their work is interesting in the simplicity of use of technology. However, I do think that it is more style than content. The work at Ars Electronica I particularly liked. It is lovely to see when seen from the right place. But the fact that it is limited in its angle of view is a shame and seeing it is made with an ipad reflecting from glass at 45 degrees does give me the sense of a simple magic trick demystified and laid bare to disappointment. Nevertheless, I think that the simplicity itself is the trick and not what it shows. This sort of augmented reality is beguiling for a moment until I become habituated, then I want to seek something deeper. Despite my misgivings about the nature of this kind of work, it is entertaining and creates associations and gives me ideas. That certainly cannot be a bad thing.
Akinori Goto’s work is a holographic zoetrope reminding me of Matt Collishaw’s Massacre of the Innocents. It is more ethereal and less theatre but I much prefer Collishaws’s subject matter. Goto’s dancing figure seems more of a demonstration of a technique and again lacks subject matter. At least, Adrien and Claire’s particulate bombardment of a block of crystal is cosmological, a dancing figure is too much like a computer generated film effect of a fairy dancing on a table.
Despite all the things I say, hats off to these artists for their ingenuity and technical savvy, although in some cases I am sure there are some backroom boys, or girls, involved, who knows, they are hardly ever named, at least in the headline credits.
Memo Akten and his crew do some very impressive work in Istanbul. It is a little disturbing, especially with how beguiling it is. The work again seems a demonstration of technology. It makes me think that the artistic content of the work lies in one’s inference of its nature. The technology is the content itself rather than a means to express something else. That is how it seems to me very often. It is left for later generations to pick things up and take them further.
And as for Luca Zanotto’s Eyes – emoticons on steroids.